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DESIGN
D Design is defined as the previous process of mental configuration, in the search for a solution in any field. It is usually applied in the context of industry, engineering, architecture, communication and other disciplines that require creativity
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history The definition of the graphic designer's profession is rather recent, in terms of its preparation, its activity and its objectives. Although there is no consensus on an exact date when graphic design was born, some date it during the interwar period. It can be argued that graphic communications with specific purposes have their origin in the cave paintings of the Paleolithic and in the birth of written language in the third millennium BC. C. But the differences in methods of work, auxiliary sciences and training required are such that it is not possible to clearly identify the current graphic designer with the man of prehistory, with the xylographer of the fifteenth century or with the lithographer of 1890.The diversity of opinions responds to the fact that some consider as a product of graphic design any graphic expression and others only those that arise as a result of the application of an industrial production model; that is, those visual manifestations that have been "projected" contemplating needs of various types: productive, symbolic, ergonomic, contextual, etc.
XVI ce n t ur y
THE RENAISSANCE
OF CALLIGRAPHY
It occurs in the midst of a monarchical absolutism led by France and Spain, which established a bureaucracy that favored the progress of calligraphy while the printing press, held by the Church and the Government, was losing its sense of vanguard and became a conservative activity at the service of totalitarian political and religious forces. In the typographic field the design of types is considered only by its function as an element of the printing process and its greatest exponent was the Frenchman Claude Garamond. The old-style types date from 1465 and are characterized by a diagonal emphasis (the thinnest parts of the letters are angled instead of up and down), subtle differences between thick and thin lines (low line contrast) and a readability Excellent. These types bear a reasonable resemblance to the calligraphy used by the humanists. The typeface of Claude Garamond can be classified as Serif. auctions or terminals are small ornaments usually located at the ends of the lines of the typographical characters. Times, Georgia, Garamond and Courier typefaces are examples of letter styles with an auction.
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tipography: Georgia
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Tipography
hello!
i am
futura
THE FIRST
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headline of 1609 of the German newspaper. Relationpublished for the first time in 1605
NEWSPAPER OF THE WOLRD
XVIII ce n t ur y
The Gazette was a weekly, small format and with four pages of short news and without opinion, close to power and that was sold mainly by subscription. Paris is also the birthplace of the first literary and scientific journals, such as Le Journal des Savants (1665), and of the society press (Mercure Galant, 1672). Until the s. XVIII was not published the first French newspaper, it was called Le Journal de Paris (1777) and came out only with four pages. In addition to newspapers, in the seventeenth century, also the export of books in Holland, by the dynasty of family of printers of Louis Elzevir, their volumes had solid, legible Dutch types with engraved figures. Elzervir perfects very practical pocket books, which translate into many languages, so his market covers all of Europe.
This was a time when there was almost no innovation in graphic design, however it was the time of great writers like William Shakespeare and Miguel de Cervantes Saavedra. However, at this time was the appearance of the first newspaper Avish Relation oder zeitung, the newsletters had great acceptance by the public, which made them an influential medium and, for this reason, the rulers began to prohibit their distribution and to create official publications to avoid criticism of their governments. Thus, came the birth and stabilization of the first weekly gazettes in the s. XVII. The pioneers are in Germany and the Netherlands.
In 1609 in Strasbourg there was a weekly newspaper with the generic name of Relation and in WolfenbĂźtel (Germany) another one with the Notice Relation oder Zeitung. But the most important was the Gazette, founded in Paris in 1631 by ThĂŠophraste Renaudot, considered the first journalistin history.
XX
cent ury
The first world war established the importance of graphic design. The graphic, the illustration and the sign helped to inform and instruct in an economic and direct way. The military identification was a code that was understood instantly. The insignia of the regiments had much in common with the economic design and with the powerful images and slogans of the new posters. Governments used them in public announcements, as well as in propaganda and to encourage citizens to share the effort of war.
The new typographical experiences were part of the program of the futurists and their experiments began before the First World War. In Italy, the movement was led by the poet Filippo Tommaso Marinetti, who, in 1909, had published in Paris the first and most famous futurist manifesto. Marinetti began his message by glorifying aspects of the modern world, such as speed, cars or airplanes, which made noisy journeys over European capitals.
In Germany, at the time of the New Typography (Neue Tipographie) it had been learned to emphasize the meaning of words with the use of blank space within the design. This type of functionalism was the most important for many of the younger designers who had associated with Futurism. His works were presented in the first published issue of the magazine Campo Grรกfico (1933) and were presented as a reaction to growing nationalism, the neoclassical printing industry and Renaissance conservatism.
Futurists incorporated elements of the advertisements in their literature and also extended the movement to advertising because they were fascinated by technology and appropriated the elements of industrial production. Futurism was important because it broke with the traditional symmetrical scheme of the printed page. The dadaists created the precedent in typographical innovations in Germany and lent their name, Futurism, to experimentalism in Russia, which immediately preceded the revolution of 1917.
stop war In the years that followed the Russian revolution, graphic design developed in movies as a means of mass communication. This new language was exported until it became an important influence in Germany and Holland, between the two world wars. Russia already had a powerful visual tradition expressed in wooden engravings, icons and illustrated political magazines. In the early years of the Russian revolution, the posters became public heralds, with visual slogans and illustrations of political apologies.
The revolution developed and took advantage of the new resources of photography and, with them, the skills of designers in the illustration, for the presentation of statistics and cartography. The designers produced images that transcended objectivity in the poetic presentation of Soviet progress. Soviet graphic design maintained the geometry and primary colors of abstract constructivism, but the more complex work resulted in a graphic form that sought to clarify its meaning.
Until Stalin suppressed the avant-garde movement, in the West it seemed that the Soviet Union had reconciled social demands with revolutionary aesthetics and graphic design had been launched as the expression of the new society.
The movement as such arose in the mid-1950s in the United Kingdom and in the late 1960s in the United States.4 with different motivations. In the United States, it marked the return of the Hard Edge type of painting (translated as "drawing with sharp contours" 5) and of representational art as a response of artists to use worldly and impersonal reality, irony and parody to counteract the personal symbolism of Abstract Expressionism.3 6 In contrast, the post-war origins in Britain, while also using irony and parody, were more academic and focused on the dynamic and paradoxical imagery of American popular culture. , which was formed by a set of strong and manipulative mechanisms that were affecting the patterns of life, while improving the prosperity of society.6 The early pop art of England can be considered then as a series of ideas fed by the American popular culture seen from afar, while American artists were committed to civil rights, for participation n and for protesting against the Vietnam War; they themselves rejected consumerism and conservative values. Many artists adopted mechanical printing techniques to reflect the contemporary world and distribute their art en masse.7 Most works of this style are considered incongruous because the conceptual practices that are generally used make them difficult to understand. The concept of Pop Art does not emphasize art as such, but rather the attitudes that drive it.
art
pop It is an eminently citizen art, born in the big cities, and totally alien to Nature. Use the known images with a different sense to achieve an aesthetic position or reach a critical position of the consumer society. Andy Warhol in his Philosophy from B to A and from A to B, collects many of the ideas that underlie his concept of "pop". In Pop-Art, beauty is likely to be found in any consumer object. They are accepted from the noble materials up to the plastics, papers, cartons, cans and coca-cola bottles. Among other artists, Andy Warhol and Roy Lichtenstein are among the most representative.
ACTUALLY
Visual images have become a commodity within everyone's immediate reach; the current industrial mass production of visual imagery tends to move away from the vision of participation and emotional identification and to turn the imagery into a fascinating flow without center or participation, thus marking the power of virtuality in spatial and temporal matters. One of the changes most important that has modified the way of conceiving the design, is the inclusion of the computer. Much of the work of graphic designers is assisted by digital tools. Graphic design has been transformed enormously by computers (which have become essential tools) and, with the appearance of hypertext and the web, its functions have been extended as a means of communication; The exponential growth in the use of Internet-connected devices such as telephones, tablets, watches, laptops, etc., already leads us to the establishment of a hyperconnected society, whose massive interconnection greatly facilitates globalization. In addition, with this, technology also affects issues such as teleworking and especially crowdsourcing or mass outsourcing, which has already begun to intervene in work modalities.
This change has increased the need to reflect on space, time, movement and interactivity, among other issues that mark the collapse of physical factors and the dissolution of the edges between reality and virtuality. Even so, and despite this, the professional design practice has not had essential changes, since while the forms of production have changed and communication channels have spread, the fundamental concepts that allow us to understand human communication and design continue being the same
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